program 2022

Put Your Mask Back On

Johann Calderón
Johann Calderón is a german painter / media designer / video artist.
He studied Visual Communication at the HS Peter Behrens School of Arts in Düsseldorf Germany with the main focus on Fine Arts, Video, Photography & Graphic Design. He lives and works in Córdoba, Argentina.
Nightsick (Experimental Short; B/W), German05 or the Dog and the small Prices (Experimental Short; B/W), Miseria (Experimental Short; B/W), Ovulation (Experimental Short Animation; B/W), Cleansing Process (Experimental Short; B/W), Carnations (Experimental Short Animation; Color), Between Borders (Short Documentary; Color), Three Drops of Water and a Dragonfly (Short Documentary, VideoArt, Color), Silver (Experimental Short Animation; Color), Simplon (Video Art; Color), A Day In The Life Of Frusnuggels Penk (Experimental / Video Art, Color), Put Your Mask Back On (Video Art; B/W & Color), Burn (Video Art, B/W & Color)
Exhibitions / Past Film Festivals:
Intervals Festival (Nizhny Novgorod, Russia), Barcelona Indie Filmmaker Festival (Barcelona, Spain), MicroActs – Artist Film Screening (London, United Kingdom), Non-Syntax Experimental Image Festival (Tokyo / Kyoto / Hakata-ku, Japan), Insomnia International Animation Film Festival (Moscow, Russia), Festival de Fenacir (Rio Verde, México), MUTA Festival Internacional de Apropiación Audiovisual (Lima, Peru), MalatestaShort Film Festival „All you can see“ (Cesena, Italy), Experimental Film Festival (Barcelona, Spain), Videotitlán Festival de Video (Callao, Peru), KinoDrome: International Motion Picture & Screenplay Festival (Cleveland / Ohio, United States), Experimental Superstars (Novi Sad, Serbia), Garofano Rosso Film Festival (Avezzano, Italy), Façade Video Festival (Plovdiv, Bulgaria), Pune Short Film Festival (Pune, India), Make Art Not Fear (Porto, Portugal), ULTRAcinema Cine Experimental y de Found Footage (Tepoztlán, Mexico), Athens Digital Arts Festival | Tactus (Athens, Greece), Crossings Poetic International Film Festival (Milwaukee, United States), VASTLab Experimental (Los Angeles, United Sates), Intervalli Festival Cinema (Padova, Italy), International Moving Film Festival (Chorramschahr, Iran), MikroFAF – International Festival of DIY and Independent Short Film (Belgrade, Serbia), Festival Internacional de Cine Independiente de Madrid (Madrid, Spain), Film Fest Kodama Environmental Short Film Festival (Glasgow, United Kingdom / Buenos Aires, Argentina), UNDER_the_RADAR (Vienna, Austria), XPRMNTL Anti-Film Festival (London, United Kingdom), Festival Transterritorial de Cine Underground (Buenos Aires / Tigre / Quilmes, Argentina, Medellin, Colombia), Interface Video Art Festival (Zagreb, Croatia), Le Prince International Film Festival (Caracas, Venezuela), Dante Sunset Film Fest (Cartagena, Colombia), Moinho Cine Fest (Porto, Portugal), ROFIFE Rotary International Short Film Festival (Bolu, Turkey), Fisura – International Festival of Experimental Film & Video (Mexico City, Mexico), Bizarrya Short Film Festival (Porto, Portugal), Esto Es Para Esto EIC – International Film Exhibition (Monterrey, Mexico), Sydney Underground Film Festival (Sydney, Australia), Black & White Festival Audiovisual (Porto, Portugal), Amsterdam Film eXperience (Amsterdam, The Netherlands), Busho Short Film Festival (Budapest, Hungary), Independents‘ Film Festival (Tampa / Florida, United States), Peats Ridge Music and Arts Festival (Glenworth Valley, Australia), Bridge Fest Film Festival (Vancouver, Canada), ArtsFest Film Festival (Harrisburg / Pennsylvania, United States), Sound Experimental Film Festival (Laredo / Texas, United States), MUMIA World Underground Animation Festival (Belo Horizonte, Brazil), ABSTRACTA International Abstract Cinema Exhibition (Rome, Italy), Berlin Independent Film Festival (Berlin, Germany), Addis International Human Rights Film Festival (Addis Ababa / Ethiopia, Africa), Boom Festival Biennale (Idanha a Nova, Portugal), Moscow International Experimental Film Festival / Online (Moscow, Russia), Montreal Independent Film Festival / Online (Montreal, Canada), Light From Space “The Sun” Festival / Online (Chicago, United States), Hallucinea Film Festival / Online (Paris, France), Baveria3 Radio Music & Video Contest / Online (Munich, Germany), LoudSoulMusic Festival / Online (Belgrade, Serbia), Citric Signals Video Network „Micro“ / Online (Orlando / Florida, United States)
Audience Award for OVULATION (Bridge Fest Film Festival, Vancouver, Canada), Best Short Documentary for BETWEEN BORDERS (Berlin Independent Film Festival, Berlin, Germany), Second Place for SILVER (Category “Experimental – Sound or Image Driven“, KinoDrome – International Motion Picture & Screenplay Festival, Cleveland / Ohio, United States), BEST SOUND for SILVER (Festival Internacional de Cine Independiente de Madrid, Madrid, Spain)
“Put your Mask back on” is a 2:40 min minimalistic video art piece about child / human abuse.
The action lies hidden in the background. The mother often admonishes her daughter to put the mask back on. The viewer does not hear this; only the title is representative.
In contrast to this, only the ceiling fan of the house can be seen, which is turned upside down and thus performs a funny dance. The middle part is accompanied by distorted hula music and consequently proceeds with the absurdity of this situation.
During the video, the girl can be heard several times, saying: “There are everywhere dead frogs”.
The mother doesn’t respond to her words, she seems to reject seeing the frogs.
This is an allusion to the second plague in the story of Exodus:
“This is what the great LORD says: Let my people go, so that they may worship me. If you refuse to let them go, I will plague your whole country with frogs. The Nile will teem with frogs. They will come up into your palace and your bedroom and onto your bed, into the houses of your officials and on your people, and into your ovens and kneading troughs. The frogs will go up on you and your people and all your officials. — Exodus 8:1–4”

program 2022

The breath

Franco Cerana, Hernán Biasotti, Alejandro Magneres
Franco Cerana is a teacher, researcher and filmmaker. In 2008 he formed Tangram Cine and since that year he works as director and cinematographer. He directed the series Sin Conexión (2016) and the short film Hesperdina Express (2016). Among his cinematography works are the web series La obra de mi vida (2018), the feature films Raiders of the Lost Doll (2016) and History of the Occult (2020). He is an adjunct professor of Lighting and Camera I (FDA-UNLP) and a doctoral fellow at UNLP, where he investigates the design of the Argentine cinematographic image.
Alejandro Magneres (JANDRI) is a Multipotential, born in Bahía Blanca in 1985 and a Professor in Audiovisual Communication at the Faculty of Arts (UNLP). He works as a teacher, filmmaker, editor, photographer and inventor in the audiovisual and multimedia fields. Among his works as editor are the feature film Las Olas (2017, Natalia Dagatti) and the short films Zoe (2019, Aretha Resenido) and Quedarse en casa (2019, Luisina Anderson).
Hernan Biasotti was born in 1988 in La Plata, Argentina. He works mainly as sound designer and among his latest works are the series The Kirlian Frequency (Netflix, 2018) and the films History of the Occult (2020), Esquí (2020) and Qué será del verano (2021), the last two participating in the 2021 edition of Berlinale Forum.
Sunset. A man dies in a sunflower field. At nightfall, his spectre returns to find the cause of his death and free himself. But the noise gets in the way.

program 2022 specialmention2022

Useless Eaters

Ian Haig
Mutated hackable bodies, bodies that didn’t quite work out and bodies that can no longer be classified as bodies. Drawing on the transhumanist musings of Yuval Noah Harari….humans are now hackable animals.

program 2022


Filip Markovinović
When I was a little, my father told me that dust is formed by meteors burning when they enter our atmosphere, disintegrate, and turn into dust. For a long period of time I have been convinced that all the dust around me comes from space. I loved hitting the furniture with my hand and watching the beads move in the beam of light. Now I know that dust is made of pieces of leather, fabric, paper, soot and dirt. Dust is actually a world that is falling apart.
“Dust” is a collage-type video work created by combining personal film archives, family films shot between 1976 and 1982 and found archival material consisting mainly of raw and unedited footage, amateur cinema recordings of parts of Sombor and Novi Sad.
Using fragments of film recordings from personal archives and placing them in another context, the video represents a walk-through oneiric spaces that have been melted by the ravages of time. It is a literal decomposition, as the material I used is in very poor condition – the emulsion disintegrated or the film completely changed its appearance due to chemical processes and inadequate storage.
In that way, a time-space bridge is created that connects the past with the present time, problematizing the possibility of remembering and perceiving an objective picture of the past time.
In addition to the picture of the world in which I grew up, that world also fell apart. It can be said that it also fell apart due to carelessness and inadequate storage.
A short experimental film created by combining personal archives and found footage. The film takes us through dreamy spaces of memory and forgotten moments from childhood.

program 2022

I used to be a table

Nicole Hewitt, Vida Guzmić, Ivan Slipčević
Vida Guzmić is a visual artist working in video, sound and text. She completed her MA in New Media at the Academy of Fine Arts in Zagreb in 2012 and completed Women’s Studies at the Center for Women’s Studies as well as the Curatorial Platform programe in 2013. Her work has been exhibited in Croatia and Europe and she has held residencies at V2_Summersessions Test Lab, V2_Institute for unstable media in Rotterdam, KulturKontakt Austria in Vienna and fellowships at WHW academy in Zagreb and Ashkal Alwan, HWP, Beirut. Her work explores the relations between objects and subjects, gendered geography and representation through screen technologies. She works both as a solo artist and in numerous collaborations and engaged practices. From 2012-2018 she has been a member of the multidisciplinary art collective Space is Tactics. She organizes numerous audio/video workshops for young women, Roma and non-Roma school children through Studio Pangolin and is part of the collective Soundspiels with Nicole Hewitt and Ivan Slipčević.
Nicole Hewitt is a visual artist working in film, video, installation, performance and text. Hewitt completed her MA in Fine Art Media at the Slade School and gained her PhD in Fine Art also at the Slade School of Fine Art in 2013. Her work has recently been concerned with memory, history and narrative as mediated through technologies of representation and preservation. She has recently completed a long tem episodic series of performance/texts ‘This woman is called Jasna’ and is now continuing her research into history and forms of archaeology in a film project Women Minor Speculations. Hewitt teaches at the New Media Department of The Academy of Fine Arts, University of Zagreb.Lives and works in Zagreb and London.
Ivan Slipčević is a visual and sound artist working in film, photography, video and sound. Slipčević completed his MA in Cinematography at the Academy of Dramatic Art of the University of Zagreb, Croatia. He has been an active member of the Multimedia Institute MAMA in Zagreb since 2000 and started the studio for sound and image zvukbroda with Tomislav Domes. He has been involved in numerous multimedia perfromances, produced electronic video scenography at numerous festivals (Videolux, Ljubljana; media.mediteranea, Pula; Urbani Festival, Platforma 981, Sloboda stvaralaštvu, Illectric funk, Zagreb; Festival Vizualnih komunikacija, Maribor; Contact Europe, Austrija; clubtransmediale, Berlin, etc.) He has been director of photography on a number of independent productions (Deturs, Galeb Vekić, Plac, A. Hušman; Booksa this is the way step inside; K. Rubinstain, Ručak, A. Hušman; In time, Nicole Hewitt, Zagrebačke priče, I.Ramljak. M.Škobalj, Sve je povezano, Lala Raščić, Oslobođenje u 26 slika, I.Ramljak. M.Škobalj …). Slipčević teaches photography and new media technology at the Department of New Media and Animation at the Academy of Fine Art University of Zagreb. Slipčević is a member of the sound collective Soundspiels.
The English word secretary originally was a piece of furniture for writing and hiding sensitive documents, using the idea of the secret as a trigger we imagine what Siri, Alexa, Cortana … all models of assistance dream of, speak of when unasked for support.
Inspired by the theories of Kate Crawford about the entangled past of digital and physical secretaries we are developing our research into machine learning, using algorithms and data sets to produce text and voice and our working on a Croatian voice model using Nicole Hewitt’s voice to train the machine. The texts and sounds are generated using multiple processing methods, online translations, wordnet data bases, google translate and text to speech programmes, the texts are then processed as synthesised material and further processes to produce sound. All the voices in the performance are sythesised, the images are a combination of found footage and machine learning image processing, screened on motorised and rotating screens, as well as text displays.
The project works with analogue and digital processes including dreams and the unconscious, and trying to imagine what artificial intelligence might dream of. Taking as its starting point the idea of the listening woman, the secretary both human and digital, the assistant, the digital assistant we try to give voices to the women who gave their voices to text to speech technologies. We encounter them and address them by their names, Goga, we also create our own voice models through training sets for text to speech. We produce narratives around their possible interactions.
The performance is based on blind composition, so we never know exactly what files are playing, what sounds are being created and what texts are being voiced. The sinsets we use are based on the most simple of differentiation and often result in ambiguous, frequently racist and sexist values. We work with a sentient lexicon that attaches simple positives and negatives to nouns. Newer algorithms are trying to not only produce polarised sentiments i.e. ‘panic – minus’, ‘ achieve- plus’ but are working to develop a prediction of sentiment intensity.
In deep learning Wave net examples we can hear voice models producing sounds without making language, sounding as if in a trance of their own. Depending on how a model has been trained, the model will predict the correct enunciation, tone and pitch which allows us to train a model in the future on non-linguistic voicings for example crying, moaning, laughing, mumbling. In our visuals we therefore also work with GANs, and machine learning image processing techniques as well as found footage to present ecstatic women, women unconscious, or delirious, or those who hear and see and predict, for example Joan of Arc.
What does ecstasy sound like in artificial intelligence, what does a machine hallucinate?

program 2022


Emmanuel Gras
Emmanuel Gras turned to cinema after studying history. He joined ENS Louis-Lumière and worked as a cinematographer while making his own films. His first documentary feature, Bovines, was presented at the Cannes Film Festival and was nominated for the César for best documentary. Shot in the DRC, his film Makala won the Critics Week Grand Prize. His latest feature film, A People, tells the story of the Yellow Vests movement, which shook up France for an entire year.
In a universe that looks like nothingness, two beings seem to exist only to come into contact.

program 2022


Charles Cadic
Charles Cadic , born in 1991 , is a graduate of La Cambre , Brussels , section Urban Space ( 2013 ) and from the Beaux -Arts de Paris (2018 ). He also studied at the Glasgow School of Art (Environmental art). His practice is situated at the the border
of sculpture , video , installation but also photography , intervention in public space , architecture, writing and sound.
Charles Cadic is currently preparing a film that will deal with the genesis of images , the specular image and its symbolic function in our contemporary societies . His work has been exhibited at the Galerie Aperto in Montpellier , during the 71st edition of Jeune Création or at the Culterim Gallery in Berlin and will be part of the Atelier 105 – LIGHT CONE Residency in December 2022. He lives and works in Paris.
An acoustic device – speakers placed at regular intervals on a beach – replaces the lost ocean. The speakers broadcast a looping sound, the sound of the waves that were there before, repeated ad infinitum. The memory of the sea, digitized, is nothing but a saturated wave, a data stream.

program 2022


Daria Milyukhina
Filmmaker from Moscow. Currently based in Berlin.
Born in Moscow in 1988. Graduated from Moscow Architectural University as an architect in 2011 and from Moscow School of New Cinema as a film director in 2017.
These days she works as a freelance filmmaker as well as an artist.
The feeling of total destruction. The world is falling apart and you are a part of it. The attempt to say something when everything you say is doomed to failure. Is it even worth trying or maybe the world would be a better place without your attempts?

program 2022


Lilian Robl
Lilian Robl studied Time Based Media at the Academy of Fine Arts Munich and at the Ecole de recherche graphique Brussels and attained her MFA in 2019 as a Master student of Prof. Alexandra Bircken. Her work is shown in exhibitions, e.g. Kunstraum Kreuzberg, Berlin (DE); Wienwoche (AT); Cabaret Voltaire, Zurich (CH); Lothringer 13, Munich (DE); fructa Munich (DE); Kunstverein Marburg (DE) as well as at international film and video festivals, e.g. Athens Digital Arts Festival, Museum of Modern Greek Culture (GR); FILE, São Paulo (BR); Poetry Film Award, Weimar (DE); Non-syntax Experimental Image Festival, Tokyo (JP); Athens AnimFest (GR); International Moving Film Festival (IR); Athens Digital Film Festival (GR); hungry eyes festival Gießen (DE); ALC videoart festival, Museo de Arte Contemporaneo, Alicante (ES); International Film Festival with Alternative Media (MX); Monthly Screening, Millennium Film Workshop New York (US); Latest Visions (TV channels UK & Ireland). She has received artist-in-residence fellowships, among others at the Cité Internationale des Arts Paris (FR). Lilian Robl is currently based in Munich, Germany.
A YouTube video, which is supposed to help the viewer against panic attacks and anxiety by focusing on his or her own breathing rhythm, served as the source material, which was graphically altered, filled with words and this way interpreted as a fleeting diagram of breath.

program 2022

In Memory Of

Mattia Bioli
Mattia Bioli (1996, Sassuolo – Italy) is a filmmaker and artist. He created different inter-medial projects experimenting every type of media and technique, from photography to animation. His short films have been exhibited at several national and international film festivals, including Visioni Italiane (Cineteca Bologna), Piccolo Grande Cinema (Cineteca Milano), Ribalta Experimental, Filmfest Bremen, TOFUZI, Linea d’Ombra, Minikino Film Week, Kino Otok, IBRIDA Festival. At the same time, he has been running a YouTube channel since 2014, where he tells the background of his personal works.
How does a fading memory look like? A forgotten person faces the material disappearance of what it passed. Oblivion gradually consumes everything, destroying every possible illusion of eternity.
In memory of those who no longer exist, neither as a face, nor in our memories, nor in a short film.